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 | This article about a jazz standard or composition written in the 1960s is a stub. You can help Wikipedia by expanding it. |
| "Blue Bossa" | |
|---|---|
| Song by Kenny Dorham | |
| from the album Page One | |
| Released | 1963 |
| Genre | Jazz |
| Composer(s) | Kenny Dorham |
"Blue Bossa" is an instrumental jazz composition by Kenny Dorham. It was introduced on Joe Henderson's 1963 album Page One . [1] A blend of hard bop and bossa nova, the tune was possibly influenced by Dorham's visit to the Rio de Janeiro Jazz Festival in 1961. [2] [3] The tune has since been recorded numerous times by different artists, making it a jazz standard. [4]
| | This article about a jazz standard or composition written in the 1960s is a stub. You can help Wikipedia by expanding it. |
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
Ronald Shannon Jackson was an American jazz drummer from Fort Worth, Texas. A pioneer of avant-garde jazz, free funk, and jazz fusion, he appeared on over 50 albums as a bandleader, sideman, arranger, and producer. Jackson and bassist Sirone are the only musicians to have performed and recorded with the three prime shapers of free jazz: pianist Cecil Taylor, and saxophonists Ornette Coleman and Albert Ayler.
McKinley Howard "Kenny" Dorham was an American jazz trumpeter, singer, and composer. Dorham's talent is frequently lauded by critics and other musicians, but he never received the kind of attention or public recognition from the jazz establishment that many of his peers did. For this reason, writer Gary Giddins said that Dorham's name has become "virtually synonymous with underrated." Dorham composed the jazz standard "Blue Bossa", which first appeared on Joe Henderson's album Page One.
Western swing music is a subgenre of American country music that originated in the late 1920s in the West and South among the region's Western string bands. It is dance music, often with an up-tempo beat, which attracted huge crowds to dance halls and clubs in Texas, Oklahoma and California during the 1930s and 1940s until a federal war-time nightclub tax in 1944 contributed to the genre's decline.
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Horace Silver and the Jazz Messengers is a 1956 repackage of 1955 10” LPs by jazz pianist Horace Silver with drummer Art Blakey and featuring Hank Mobley on tenor saxophone, Kenny Dorham on trumpet, and Doug Watkins on bass. By the time this repackage was released, this quintet had named themselves the Jazz Messengers, and the band name on the label reflected that. These recordings helped establish the hard bop style. Scott Yanow on Allmusic describes it as "a true classic". Originally released as an LP, the album has subsequently been reissued on CD several times.
Una Mas, titled Una Mas (One More Time) on the front cover, is a jazz album by trumpeter Kenny Dorham and his quintet, released in 1963 on Blue Note as BLP 4127 and BST 84127. The album would be the next-to-last studio session led by the trumpeter. Una Mas features three compositions by Dorham himself. An outtake from the session, the ballad "If Ever I Would Leave You", comes from the Broadway musical Camelot.
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Bouncing with Bud is a 1946 jazz standard by American pianist Bud Powell and Gil Fuller, which features the saxophone of Sonny Stitt and the trumpet of Kenny Dorham. It was originally recorded on 23 August 1946 as "Bebop in Pastel", In the key of B-flat major, the tune is a "nonblues theme whose form is A-A'-B-A' with an eight-bar interlude that is not played during the solos."
"Moten Swing" is a 1932 jazz standard by Bennie Moten and his Kansas City Orchestra. It was an important jazz standard in the move towards a freer form of orchestral jazz and the development of Swing music. Moten and his Orchestra, which included Count Basie on piano, achieved much success with it, although the song is most associated with Basie's Count Basie Orchestra, who recorded it in 1940.
Swingmatism is a jazz standard, composed by William Scott, and featuring Charlie Parker. It was originally recorded on April 30 1941 with Gus Johnson, though the best known version dates to 1942. According to author Dave Oliphant it "illustrates how, with a good 'swing' rhythm section, one can play bebop and still have it fit." The tune, composed in F Minor, is noted for its "sixteen-bar sections in the minor and modulation to the parallel major, through the use of a diminished chord".
Knitting Factory (Piano/Quartet) 1994, Vol. 2 is a live album by composer and pianist Anthony Braxton with a quartet, recorded at the Knitting Factory in 1994 and released on the Leo label in 2000.
Dedication is an album by pianist Steve Kuhn which was recorded in 1997 and released on the Reservoir label.
"Your Mother's Son-In-Law" is a song written by Alberta Nichols and Mann Holiner that was recorded by Billie Holiday with a band led by Benny Goodman on 27 November 1933. It was Holiday's first recording. It was produced by John Hammond. The song was recorded in three takes, and Holiday was paid $35 for her performance.